David Cage Quotes

It was close to like a 67- or 70-day shoot for 'Tron' on stage, in the suit. You can't even sit down during the day because of all the cables that divide the foam rubber and all the electrical circuits. We had these stools that were tall with a bicycle seat on them and you're just looking at a blue screen all day.

I spent four months in Prague in these blue rooms reacting to nothing and you basically place your faith in the hands of the director and the special effects co-coordinator and you keep your fingers crossed and hope that the creatures look really scary.

What happened in the early days of Disney is that Walt Disney used all of the new technologies as they came out. When matting came out, they adopted it. They adopted sound and color and xerography. Walt did that. And then, when he died, people began to think that this is just about making films, so they stopped bringing in new technologies.

First of all, in the old days, if you wanted to show someone getting shot on film, all you could do was place an effect in the original take. And if you wanted to brighten somebody's face and leave the rest of the room dark, that was a very expensive process.

The nature of motion capture is only going to work for certain films. It's not going to put any other type of movies out of business.

On Fantastic Mr. Fox, I got used to working with animated storyboards as a way of planning for the shoot. We did a lot of sequences that way with this movie. Partly as a result of that, I decided to build more sets in order to do certain shots.

I think the biggest difference is in live action, you show up, and there's a set there and a ground to stand on, at least, and in animation, there's kinda nothing. You are making decisions on everything.

I want to try and be as involved in the art of filmmaking as possible. I feel that the only way to really do that is to take on as many roles as possible, whether it be as an actor, an editor, a director, a cinematographer.

I loved being behind the scenes and finding out how they make movies.

A live action movie is work, and an animated movie is you showing up in your pajamas once every three months, or in my case, just a splash of baby powder. It's not any kind of heavy lifting.

Lighting is vital. Without that they've got nothing. And, of course, color and texture. When they showed me a little piece of Finding Nemo, I said this has got to be the biggest hit.

With 'Tron,' we had so many crew members around and a stage full of special effects people that know exactly what has to be done in the situations. You're on a stage in sets the whole time.

My dream role is actually behind the camera. I want to direct.

In 'The Greatest Showman,' I'm back doing VFX myself, allowing me to craft exactly how something looks, one frame at a time.

Making the visuals photo-realistic lets us do things we were never able to do before. The voice acting, the facial expressions, are all that much deeper.

I wrote a big animation scene for 'Iron Fists,' but we couldn't afford all that.

Every 'Star Wars' film was about pushing what was possible in terms of effects, puppets, matte paintings, stop motion and, now, digitally.

Motion capture has become very specialized but also still just a tool of filmmaking.

I won't say which one, but one shot on 'Kubo' took two months to get the expression right. It's ridiculous on some level.

I'd be really interested in making a dramatic, low key 3D film.

The size of a studio film lets you see technology in a way that you wouldn't on an independent film, like the gadgets and the angles and all that.

'Alice' took over two years to make and took a great deal of planning, obviously much more than usual. We spent so much more time prepping the film, and that was unique for us.

It might sound odd, but I want to thank Michael Bay because he's been saying how important it is to show 3D with the right luminescence. And that's very important for this film, a lot of which was shot at night or with very low illumination.

CGI is done after the film is done. It's through the computer. Most of the film is not computer-generated special effects. Most of it is that creature that is in the room with you.

I really love diving in, head first, with directing and not having to worry about hair, makeup or lines.